I watch more television and movies during holiday breaks than during the rest of the year combined. November and December typically represent, among other things, a glut of television unrivaled during the other ten months. Each Winter seems to host a new series of DVDs to gorge upon. Last year, I feasted on Heroes; this year, Lost.

Yes, I realize that just now watching Lost puts me years behind—so sue me.

These two, along with 24, are my only television allegiances, though 24 is the only one of the three that I will watch during the original airdate as opposed to DVDs during the holidays. The suspense is ruined watching full seasons in one sitting, but its a price worth paying to be free from commercials.

While watching Lost and Heroes, I have attempted to discover what makes the shows so appealing to the American audience. Jumping out immediately is the exoticism of the shows: supernatural events or powers, unlikely connections and conspiracy, etc. However, I think the supernatural allure is taken to a new level. I would venture to call it a new kind of mythology.

The setting of both Heroes and Lost is primarily “the real world,” yet it is superimposed with the phenomenal, as if the mortals have collided with the gods. The depth and complexity of every character is reminiscent of the complicated lives of the gods, demigods, and heroes of Greek lore. Their struggles are epic, keeping the world from ending in one fashion or another. Their secrets drive them, and we are transfixed to their quest for purpose.

The most intriguing part of these modern mythologies is the spiritual and moral pluralism embodied by the characters. In their search for purpose, nearly every figure finds truth in a different set or sets of beliefs. In Lost, prayers to God are mingled with prayers to the island and to simply fate. The idea of karma is explored, if in allusion only, while others steer purely by their moral compass. However, in the face of the supernatural, the moral compass is often askew. The ends begin to justify the means, even for the “religious” characters.

The modern mythology is the product of political correctness. In the pursuit of diversity, beliefs and spirituality were thrown into a blender set on liquify, creating a new, enticing pluralistic setting. While we do not revere Peter Petrelli or Jack Shephard the way the Greeks worshipped Apollo or Athena, their stories and their blurred beliefs are supernatural enough to become our modern legends.

So, who knows? In ages to come, we might be gathering around the fireside, telling the tales that are slowly becoming our new legends.

Probably not, but maybe. And now that the first holiday is over, I must sadly retire the legends for a while. I suppose 50 episodes of Lost is enough for one week.